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Francis Johnson, 1792-1844: Chronicle of a Black Musician in Early Nineteenth-Century
Philadelphia, by Charles K. Jones. Bethlehem, PA: Lehigh University Press, 2006. 330
pages. ISBN-10: 0934223866; ISBN-13: 9780934223867. Price $57.50.
Many HBSJ readers will remember the collaboration of Charles K. Jones and Lorenzo K.
Greenwich II that resulted in the two-volume set A Choice Collection of the Works of Francis
Johnson. Charles Jones died in 2005 before seeing the publication of this current volume.
It was finally ushered into print by his wife, Trudy. The book is an absolute “must read”
for anyone interested in nineteenth-century Americana, African American history, or early
American band and popular music. The strength of the work lies in its use of primary
sources and as a result, it breaks through many common stereotypes and inaccuracies of
the folklore surrounding Johnson and his circle. For example, previous writers (including
myself ) have stated that Johnson was thought to have been born in Martinique. Jones
found Johnson’s baptism records in Philadelphia and he reproduces the document on page
34. This point is central to Jones in establishing the case for Johnson’s rightful claim to the
long list of “firsts” as a native-born African American musician. Jones methodically explores
the community relationships and environment that provided employment and patronage
for Johnson’s musical efforts and enlightens us on the details of military, civic, and church
music of this era in Philadelphia.
Francis Johnson was America’s first international musical superstar. He was the first
black American musician to publish sheet music, to give formal concerts, to tour widely in
America and in Europe, and he was responsible for an entire school of black Philadelphia
musicians. Johnson’s band played important engagements, such as balls that celebrated
the return of Lafayette to America, a command performance for Queen Victoria, sophisticated “Concerts à la Musard” for the Philadelphia social set, and summer performances
in America’s finest resorts, such as Saratoga Springs. Johnson toured to Toronto, Canada,
and Detroit, Ann Arbor, Cleveland, Louisville, and St. Louis.
Why has such an important musician almost been forgotten today? Johnson’s instrumentation was out of date soon after his death. The reconstruction of Johnson’s ensemble
music is a problem because none of the original manuscripts are known to have survived.
The bulk of his work exists in simplified piano editions that were published to make his
music accessible to a wide market of amateur pianists. Published band scores were not
common until after Johnson’s death. Some of his piano pieces have cues for the various
band instruments and provide information on the instrumentation and texture of Johnson’s
ensembles. Newspaper accounts and programs give enough details to reconstruct his instrumentation. Johnson may have been one of the first Americans to solo on the high Ef
keyed bugle, an instrument that is cued in many of his marches and quick-steps.
Johnson’s work falls in the cracks between popular and art traditions and represents
what even the most sympathetic scholars would consider to be backwaters rather than
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mainstream. The focus of scholarship has been directed at analysis of the major figures in the
European art music tradition. Ironically, Johnson’s published music is clearly in the style of
these Western traditions, showing almost no African American elements that are currently
associated with black folk music or jazz. Accounts of Johnson’s performances, however, hint
that he and his ensemble were playing more than what was on the printed page.
Racism was a factor in downplaying Johnson’s fame and importance until recently. In
his lifetime, Johnson seemed to have risen above the racism that he encountered, but there is
no doubt that he was willing to express his strong abolitionist feelings and racial pride in his
music. His Recognition March on the Independence of Haiti and the eloquent, deeply moving
song The Grave of the Slave are both notable examples of his sense of identity as an African
American. Johnson’s music students were white and black and he was the first musician to
integrate white and black musicians on stage, an innovation that did not escape criticism
or even violence. Johnson’s virtuosity and the obvious professionalism of his ensemble kept
him in demand in the Eastern United States despite many unpleasant incidents.
Jones divides Johnson’s life into four basic periods: his first three decades, his prolific
fourth decade of 1823-32, the European adventures of his fifth decade, and his final years.
In an appendix, Jones documents 254 of Johnson’s compositions and identifies another
thirty that are mentioned in various accounts, but remain to be located. Other useful appendixes include a timeline of Johnson and his contemporaries, a chronological listing of
the ensembles and bands with which Johnson was associated, Johnson’s publishers, a listing
of his holographs, and an 1842 court transcript concerning an unfortunate incident in St.
Louis. There are black-and-white illustrations of sheet music, musicians, and so forth, but
many are poorly reproduced; an index of the illustrations would have been a useful addition.
While the strength of the primary source material has already been mentioned, the work is
not as strong on its selection of modern scholarship. The information on the keyed bugle
and its inventor, Joseph Haliday (endnote 52), was taken from the fifth edition of Grove’s
Dictionary of Music and Musicians of 1954 and an article by Hugh McGausland in an issue of Country Living from 1950. One would hope that work on these topics might have
been updated since then. The book also does not contain any reference to the Chestnut
Brass Company’s tribute to Johnson: a compact disc of the Music of Francis Johnson and
His Contemporaries recorded by Chestnut Brass and Friends, using period instruments and
arrangements by Jay Krush.
There is also no mention of an exhibition on nineteenth-century black life in Saratoga,
New York that devoted a major section to Johnson, who entertained with his ensemble at
the resort there for a number of summers. Moreover, a renamed street, “Johnson Place,”
now honors Johnson in his old neighborhood in Philadelphia.
These small quibbles aside, this is an important work that serious students of this era
will need to own. We owe Charles Jones and Mrs. Trudy Jones a hearty thank you for this
labor of love and respect for a great American musician.
Ralph Dudgeon
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Prehistoric Music of Ireland
Ireland, by Simon O’Dwyer. Stroud: Tempus Publishing Ltd., 2004.
160 pages. £19.99 ISBN 0 7524 3129 3 www.tempus-publishing.com
Tempus have produced a number of outstanding monographs by leading researchers in
the various fields of archaeology and Prehistoric Music of Ireland is no exception. O’Dwyer
has done more for music archaeology in Ireland than anyone. If not quite alone in the
field, his work is the most wide-ranging and is characterized by hands-on experience as an
instrument maker and performer. To lovers of wind instruments, and especially to lovers
of metal wind instruments, this book will open up a whole new world of musical exploration and expertise, going back thousands of years, exhibiting variety of form and sound,
as well as beauty of design.
The book is structured chronologically, following the old conventions of Stone, Bronze,
and Iron ages as they are applicable to Ireland. Perhaps the strongest section is that on the
Bronze Age horns and rattles, for which O’Dwyer, along with Peter Holmes, has been the
leading researcher and exponent. These horns and rattles constitute the single largest group
of Bronze Age musical instruments from anywhere in Europe. They are almost unique to
Ireland, there being only three other examples, one from Scotland and drawings of ones
(now lost) from England and Scandinavia, but their significance is unquestionably international. O’Dwyer discusses the evolution of the casting techniques involved; the value
of the instruments to society; the decorative designs; the playing techniques and, finally,
gives details of specific original instruments. Where a section of an instrument is absent,
as with the large end-blown horn from Clogherclemin, the suggested length and character
of the missing mouthpiece section is discussed with practical intelligence.
Such detailed study is only occasionally expressed in terms of measurements and scientific analysis. The approach here is reader-friendly, leading us towards an understanding,
not of what was played (which we can never know), but what was at least possible and
likely. As we all know, instruments have a way of imposing their own realities upon musicians, and these are no exceptions. Most of this work has been done with reconstructions
but, as some of the original instruments are still playable, O’Dwyer has been able to verify
their potential in a variety of forms and it is interesting that some of the originals are more
responsive than the modern reconstructions.
Equally important is O’Dwyer’s study of the Iron Age Loughnashade trumpet. This
is an iconic object. Its terminal disc with its beautifully crafted classic La Tène motif is
frequently reproduced in books on Celtic art and culture. Here, however, for the first time,
we have not only an informed discussion of it as a musical instrument, but a reappraisal
of its assemblage. Previously the instrument has been assembled and displayed in a “C”
shape. O’Dwyer proposes an “S” shape, and his reasoning is highly persuasive. He also suggests that the terminal disc has an acoustic function—a suggestion backed up by acoustic
experiment during reconstruction and by subsequent acoustic analysis. Chapter 9, entitled
“Reconstruction of Instruments,” gives fascinating detail on this and the reconstruction
of the Ard Brinn trumpet, and demonstrates the range of O’Dwyer’s methodological approach. For instance, one of the consequences of a flat terminal disc as opposed to the
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flared bell is that the sound waves cannot escape so easily from the end of the instrument.
If blown with sufficient force, the waves catch up on each other, creating a shock wave of
such violence that it could cause serious damage to your ears at close quarters.
The Ard Brin trumpet, on the other hand, has no terminal plate, nor any flared bell.
Rather, its first section is cylindrical and the second gently conical, the whole riveted with
exquisite skill with approximately 1,000 rivets, nearly all of which still perform their original
function to perfection without any leaks. The trumpet is 2485mm in length and produces
a clean, reasonably well-focussed harmonic series with a mellow rounded tone with a wide
dynamic range.
The variety of types of bronze instrument found in Ireland is further indication of the
quality of craftsmanship and the level of interest in what were, of necessity, highly expensive
and time-consuming instruments to make, but the story does not stop there, for a book
entitled Prehistoric Music of Ireland does not confine itself to bronze instruments–on which
point gratitude to the Historic Brass Society should be expressed for its acceptance of bronze
as proper matter for its Journal. I therefore do not hesitate to refer to equally fascinating
sections in O’Dwyer on the reconstruction of the wooden Bekan horn, not unrelated to
my own work on the River (not Loch) Erne horn. There is also the first musicological
discussion of the stunning find in Co. Wicklow (Ireland) of six well-preserved wooden
pipes, approximately four thousand years old, whose function almost certainly has to have
been musical. O’Dwyer discusses some of the possible ways these pipes might have been
sounded.
In addition to the studies of specific types of instruments, and individual instruments,
O’Dwyer takes a look at music in Gaelic mythology as presented in the Tàin Bo Fraoch.
This archetypal Celtic tale, in the genre of the cattle raid, has its roots equally in Scotland
and Ireland and is full of fascinating detail. Is it fancy on the part of its anonymous author
to suggest that thirty warriors died of rapture on hearing King Ailill’s horn players performing healing music for Fraoch? Fancy or no, the whole tale demonstrates unequivocally that
music was deeply respected and, far from being simply functional, had aesthetic influences
and emotional powers over its listeners that we might well envy today.
It has to be said that O’Dwyer’s approach includes a fair degree of speculation, but this
is not intended to be a conventional academic book. Some readers will recall the excellent
article by Peter Downey in this Journal (vol. 5, 1993) covering similar ground, and may
feel the absence of adequate references and supporting material in O’Dwyer. Others will
want to question some of O’Dwyer’s broader assertions. However, though his style is not
rigorous, he frequently goes into considerable detail, and the quality of his observation
can be outstanding. His speculations have frequently stimulated others to look at their
material anew and if, as in the opening chapter on the Stone Age, the treatment is sketchy,
that does not diminish the strength of the material elsewhere.
The Index, Glossary and Bibliography could have been more extensive, but my chief
complaint is at the absence of citations of sources. However, in character with Tempus’
parallel publications, Prehistoric Music of Ireland is generously illustrated with 23 color and
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84 black-and-white plates. The text is given space to breathe, the quality of the paper and
binding are good and the price is reasonable.
Finally, I think it only proper to confess to having been credited by O’Dwyer in the
Acknowledgements as having kept him on an even keel. Even keel or no, little enough attention has been given to musical instruments in past archaeological studies, and practically
none to how they might have sounded. In producing this handsome book, Tempus are to
be congratulated. As for O’Dwyer, the quality of his research, enthusiasm, reconstruction
work, and observation have made of this a ground-breaking publication for which he too
deserves high praise.
John Purser
Raymond Monelle. The Musical Topic: Hunt, Military, and Pastoral. Bloomington,
Indiana: Indiana University Press, 2006. xi, 304 pages. ISBN 10: 0253347661; ISBN 13:
9780253347664. Price $60.
The Western musical tradition is one that at various times and in various genres is richly
steeped in musical “topics.” As defined by Raymond Monelle in this impressive study—his
third monograph dealing with musical signification—the topic is “a musical convention
whereby a certain stylistic habit refers to an aspect of the social and cultural world, independently of the actual context, and through that aspect to changing historical facts and
finally to universality of human behavior and feeling” (p. 165-66). It is familiar to us in
numerous instances—the French overture’s stylistic signification of regality, the march’s and
fanfare’s heroic evocations, the horn call’s emblematic summoning of the noble virility of
the hunt, to name but a few—and though recurrent in late eighteenth-century repertories,
it persists in art music and also is fundamental to much film music, as well. The modern
engagement of topics embodies (at least) a tripartite endeavor: mining the repertory to
locate the topical events, investigating the socio-cultural analogues that bring specificity
to the topic’s meaning, and finally, providing a theoretical understanding of how topics
work. Recent literature furthering this engagement includes important studies by Leonard
Ratner (1980, 1992) and Kofi Agawu (1991). Monelle’s The Musical Topic offers a study
that though focused on three topics—the hunt, the military, and the pastoral—maintains
an unflagging breadth of discussion in taking up the tripartite scheme of theory, social
matrix, and musical repertory.
There is much that is impressive here. One cannot but admire the range of reference in
social, literary, and musical contexts. Monelle moves with ease from Gherardello da Firenze
to Strauss, Ligeti, film scores, and the theme to the television series Kojak; he draws on
an array of literary reference—Antiquity and Wordsworth both receive their due; and to
these riches, Monelle brings the counterpoint of a finely detailed discussion of hunting and
soldiering. The picture that emerges is not one of simple signification, and in treating the
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complexities, the book becomes especially interesting. For example, our inclination is to
see signifiers arise out of practical, “real” usage, to be borrowed by composers in treating the
associations of that practical reality. Monelle compellingly alerts us to ways in which that
inclination is wrong: the signified is generally far distant from the contemporary realities of
eighteenth-century hunting, warfare, or rural life, for instance. And the musical borrowing
is not necessarily in the direction one would suspect, as forms of hunting horns and music
move from the theatre to the field, as forms of marches move from chamber music to the
military, and not the other way around. Additionally, Monelle allows his semiotic units to
move subtly between the simple binary poles of signifier and signified. Consider his careful
positioning of the Baroque horn:
The baroque hunting horn was poised between musical expression and practical utility. Less effective than the oxhorn as a signaling tool, it was more
evocative of the splendor and exhilaration of the hunt. Thus, the signifier
of the hunt topic was already halfway to being its own signified. It was implicated in the imaginative recreation of the hunt as a cultural unit. It may
well have originated as a theatrical instrument. Such was baroque culture;
the world was a stage (p. 41).
Similarly, Monelle treats the funeral march as a signified, not a signifier. Rarely practical,
the funeral march may be a musical topic, but it is one that “begins
begins as an evocation.” The
same idea again echoes in Monelle’s discussion of the musette—never an actual shepherd’s
instrument, its use in the hands of French nobility occupies then a middle ground between
signifier and signified.
Some of the theoretical language itself is also complex, though Monelle can turn a fine
phrase to keep the reader engaged. This dismissal of Christoph Sturm’s Betrachtungen über
die Werke Gottes in der Natur (1772) is one to savor: “The style is asphyxiatingly prosaic
and moralistic. Nature is generalized, rendered abstract, and interpreted consistently in a
spirit of sanctimonious pulpitry.” Indeed. And who can resist the description of Richard
Strauss as “the old confectioner”?
There are occasional missteps in the text. The use of the Brahms Horn Trio, Op.
40, to demonstrate the influence of the valved horn is wrong-headed, as the Trio, despite
some challenging notes, is famously for natural horn. The assertion that the Bf orchestral
trumpet “somewhat resembles” the tone quality of the long, cavalry trumpet might raise
a skeptical eyebrow or two, as well. In the main, however, The Musical Topic is a richly
textured, wide-ranging, detailed account of musical signification. It belongs on the shelf
where we keep works of significance.
Steven Plank
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COMMUNICATIONS
John Humphries, in his excellent article on W. Brown & Sons (HBSJ
HBSJ 18, 1-15), shows a
cornet presented to William “Billy“ James in 1928 that his son, the famous horn player
Ifor James, started on at age four before later switching to the horn (Figures 7 and 8).
Humphries was apparently unaware that Ifor donated this instrument, together with
considerable documentation, to the Bad Säckingen Trumpet Museum, shortly before his
death in 2004. The following information is an English translation of the information in
the Museum’s electronic catalogue. Readers are referred to the Museum’s new director,
Johannes Brenke, for further information.
34225 Cornet in Bf
W. Brown & Sons (1851 – 1952). London 1928. Serial number 16432. Three Périnet
valves. “THE / Brilliantone / Class A / W. BROWN & SONS / BAND / INSTRUMENT
/ MANUFACTURERS / KENNINGTON ROAD / LONDON / 16432 // PRESENTED
BY THE MAKERS. / CRYSTAL PALACE / SEPT 1928”. Brass silver-plated and then
gold-plated; richly ornamented with engravings of roses. Equipment: extra B-flat leadpipe
(silver-plated, did not belong to the instrument in 1928); three mouthpieces (also not
original), two of them marked “T. REYNOLDS 3” and “REYNOLDS I”; the upper half
of the third mouthpiece’s rim is flattened; leather-covered case. Remark: Was presented
as a gift to William “Billy” James (1894-1979), first cornetist in the Carlisle St. Stephen’s
Brass Band, after the band won the British Championship in 1927 with the test piece The
White Rider by Denis Wright.
Literature: John Humphries, “W. Brown & Sons: A Nearly Forgotten Name in British
Brass Making,” Historic Brass Society Journal 18 (2006): 1-15;, The British Brass Band
Band, ed.
Trevor Herbert (London: Oxford University Press 2000), 294: “Even the distinguished
french horn player, Ifor James, originated as a cornet player with Carlisle St. Stephen’s
Band.” See also pp. 72, 254, 338.
Provenance: Presented as a gift to the Museum on 1 March 2004 by James’ son Ifor James
(30 August 1931- 23 December 2004), who began to play it at the age of four and only
later changed to the horn.
34225a Documentation to No. 34225 consisting of:
• a photo of William James and his wife Ena Mitchell (a famous soprano), ca. 1950
• five photos of the instrument from various angles
• a photo of Ifor James playing the instrument (now displayed with the cornet = Figure 8
of the above-mentioned article by Humphries)
• a cassette tape recording of Denis Wright’s The White Rider, recorded by the BBC on the
day after the Championship (originally on four 78 rpm records), conducted by William
Lowes (whose brother Burt played first trombone in the band); followed by an interview
program of the BBC broadcast 70 years later (1997–see call no. 34225c)
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Provenance: Presented as a gift to the Museum on 1 March 2004 by Ifor James.
34225b Further Documentation to No. 34225
• a large photo of the band with the New Gothic trophy it had won in the Championship;
the members’ names are written in ink on the back
• a photo of the most important band members, including conductor Lowes and first
cornetist James, taken in 1927 on the terrace of the Crystal Palace; their names are written
in ink on the back
• three columns of a newspaper review telling of the band’s enthusiastic reception back
home
• invitation, with an inserted photo of the band, after its second success in the Crystal Palace
in 1929 (Reception of St. Stephen’s Band in celebration of their success at Crystal Palace,
1929; Dinner given by supporters of the band at the Silver Grill, Carlisle on Monday, 14
October 1929).
Provenance: Sent afterwards by Ifor James on 5 August 2004
A further tidbit of information is that the Brown F trumpet depicted in Figure 15 of Humphries’ article belonged to me before it entered the Utley collection. I bought it around 1970
from Phil Parker’s Brass Studios in London. Parker offered me the choice of two F trumpets,
the other a Boosey & Hawkes. I chose the Brown instrument because the name was less wellknown. Jean-Pierre Mathez played it in my brass ensemble’s frequent performances of Goffredo
Petrassi’s Ottetto di ottoni in the 1970s, since Petrassi’s fourth trumpet part switches constantly
between C and F trumpets
34225c: Protocol of a BBC Program with Interviews, 1997 (70 years after winning the
1927 Championship in the Crystal Palace)
First Denis Wright, The White Rider (set piece in 1927)
Then the BBC program (1997):
(MUSICAL EXAMPLE)
• The brass band was founded in 1910 in a Bible class of St. Stephen’s Church, Carlisle.
• Rev. J. C. Kemclow (curate) owned used instruments and offered the church as a rehearsal
room.
• Robert West (born c. 1900) became a member at age 10 (approx.). There were
no sponsors; the members kept the group alive through their membership fees.
• William (“Bill”) James, Ifor’s father—who became a member together with the children
of the director, William Lowes (Uncle Bert was first trombonist)—talks about Lowes’ family. Many of the members had previously been in Salvation Army ensembles, a fact that
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influenced the group’s sound. Under Lowes’ influence the group strived for an organ-like
sound.
(MUSICAL EXAMPLE)
• Short bio of Wm. Lowes: conductor, piano tuner, violinist in the evenings at Her Majesty’s
Theater; music director at the theatre, as well as of opera, choir, and musical societies.
• According to the testimony of his daughter, Irene Butcher, music meant
everything to him.
• Rehearsals were held on Sunday mornings and Wednesday evenings (Bill
James, the band’s secretary, was the conductor).
• Bill James called Lowes a “brilliant conductor“ und “performer“ who
transformed the realm of the brass band sound into a more musical way of
playing.
• Ina Mitchell (James’ wife, a famous singer) said that with this transformation a new era
of brass bands began, one with a more orchestral sound; this was completely new and
conquered London by storm. The entire brass band world was thus transformed, and the
“big boys“ (i.e. the highly subsidized groups) also began to work in this way.
(MUSICAL EXAMPLE: Cyril Jenkins’ tone poem Victory from the 1929 Competition,
which the band also won.)
• Robert West: “This explains the beginnings of the Cumberland Federation Competitions,
then those held in Glasgow. The band had no uniforms! Because there were no sponsors!
And thereby no distractions. Beginning six weeks before the Competition the test piece
was rehearsed daily (twice on Saturdays, three times on Sundays). The band consisted
wholly of amateurs.”
• Bill James then adds a remark.
(MUSICAL EXAMPLE: John Peel)
• Robert West: “When they boarded the train for London (at 3:51 AM), there were no
overnights: away on Friday, back on Saturday. The winners, however, were required to make
a recording on Sunday morning before the return trip. This relatively unknown band was
received marvelously by approx. twenty thousand listeners.”
• Mrs. James: adds something.
MUSICAL EXAMPLE: from 1927, with listeners’ reaction at the end
• Mrs. James: “The euphonium player had to be back home already on Sunday. Percy Shaw,
from the Black Dyke Mills Band, was engaged as a replacement: he cost more than the entire
band earned from the concert! Stanley Little was also missing from half of the concert.”
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• Little Lowes was fourteen years old and sat on an orange box when he played his trombone solo. The band telegraphed its good fortune back to Carlisle. During the trip home
there were practical jokes but no sleep! The train arrived in Carlisle at 5:30 AM and was
greeted by several hundred fans.
• Mayor: welcome greeting.
(MUSICAL EXAMPLE: “John Peel,” after three cheers)
• Mr. & Mrs. Lowes did not return until Friday and were received by
thousands.
• Irene Butcher: explains what happened then: big celebration.
• Mayor: praises Lowes.
(MUSICAL EXAMPLE: “For He’s a Jolly Good Fellow” [sung])
• Two weeks later the band gave a concert of an hour’s duration on the
market square, attended by an audience of 3900 listeners.
• Ina Mitchell makes a remark.
MUSICAL EXAMPLE
• Sign-off: That was seventy years ago!
NB. The original four 78 rpm discs were transferred by Ifor James to a cassette tape that
is now in the Sound Archive of the Trumpet Museum (without call no.).
Edward H. Tarr
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GUIDELINES FOR CONTRIBUTORS
The Historic Brass Society invites submissions of articles for its annual HBS Newsletter
and annual HBS Journal
Journal.
1. The HBS publishes articles based on any aspect of brass instruments of the past—from
antiquity through the twentieth century and representing cultivated, vernacular, and nonwestern traditions. The Journal also publishes English translations of significant primary
sources that shed light on brass instruments and their use, and it includes in-depth
bibliographies and reviews. Most articles in the Journal are between 4000 and 6000
words long; shorter submissions (including brief reports of discoveries) are always encouraged, and longer ones may be considered as the subject and treatment warrant.
Articles submitted to the Journal will be read by at least two expert referees who will advise
the editor and board on acceptance or rejection. Contributors should aim for a concise,
fluid style of English presentation that will be accessible to a broad audience of academics,
performers, and interested amateurs. The HBS reserves the right to edit submissions for
style and may return them to the author for extensive revision or retranslation.
2. The HBS Newsletter seeks material of a more informal and practical nature, but the HBS
holds the same goal of clear, concise writing for its Newsletter as it does for its Journal.
Journal
Material appropriate for the Newsletter includes: interviews with leading people in the field,
instrument collections, instrument making, performance techniques, organizing ensembles,
reports on early brass instrument makers, news of the early brass field such as symposia,
workshops, concerts, recordings, instrument collections, teaching activities, and reviews
of early brass books, music publications, and recordings.
3. Authors submitting Journal articles should submit six copies of the article along with a
3.5-inch floppy disk or CD in Microsoft Word© for Macintosh© or Windows,© or in “rich
text” format. Authors submitting material for the HBS Newsletter should include three
copies of their article in one of the formats listed above. Authors from countries in which
access to reproduction facililities is severely limited may submit a single copy.
4. Accompanying graphics such as photographs, line drawings, etc. must be submitted as
camera-ready artwork or graphic files on disks; TIF format is preferred for graphic files.
Musical examples must be either computer-typeset, engraved, or submitted as Finale© files
on a 3.5-inch floppy disk or CD. The number and size of graphics will be limited by our
space requirements.
5. Material should be double spaced on 8.5" X 11" paper. Authors are requested to place
only one character space after every sentence and punctuation mark. Endnotes and bibliographic formats should conform to the guidelines given in The Chicago Manual of Style,
14th ed. (Chicago and London: University of Chicago Press, 1993).
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6. Musical pitch names and designations should conform to the system given in the New
Harvard Dictionary of Music (Cambridge: Harvard University Press, 1986), p. 640.
7. Upon acceptance of the article, authors will be assigned an editor who may suggest revisions based in part on the referees’ reports and in part on consideration of style. All revisions
and changes should result from the ensuing dialogue between author and editor. When they
have reached agreement on all revisions, the editor will send the author a revised version of
the article. At this time any last-minute corrections should be made in consultation with
the editor. Later the author will receive proofs in type, but the only changes allowable at
this point will be corrections of any mistakes made during the typesetting process itself.
8. The HBS Newsletter is published in June and submissions are due March 1. The HBS
Journal is published in August and submissions are due the previous October 1.
9. Material should be sent to: The Historic Brass Society, 148 West 23rd Street #5F, New
York, NY 10011 USA. FAX/TEL (212)627-3820, E-mail: [email protected]